Mary Crosby Quotes

Well, I don't feel that I've played so many bad guys, and I'm rot really drawn to villains per se. I think a lot of people relate to some of my characters' inner struggles.

As Faulkner says, all of us have the capacity in us for great good and for great evil, for love but also for hate. I wanted to write those kinds of complex character in a fantasy, and not just have all the good people get together to fight the bad guy.

You know, we all have our inner demons. I, for one - I can't speak for you, but I'm on the verge of moral collapse at any time. It can happen by the end of the show.

The battleline between good and evil runs through the heart of every man.

One of the things that I really enjoyed playing with Ender was how he's constantly struggling between his brother and his sister. It's like he's got two sides to him. And I've always wanted to play a darker character, and in this film and in the novel, Ender has his moments where he isn't a glorified hero.

He had been driven hither by the impulse of that Remorse which dogged him everywhere, and whose own sister and closely linked companion was that Cowardice which invariably drew him back, with her tremulous gripe, just when the other impulse had hurried him to the verge of a disclosure.

I was completely nuts for most of my life.

Whenever I have tried to make a character bad, they end up being good in some way.

In all of us, there is a struggle between the good and the bad. It makes it more palpable and real to play such people as an actor.

I like devilish, thorny, dirty, mean roles, muck and mire, unbelievably sad, unbelievably happy, burdened. Inner conflict - that's where drama is.

Everyone spends their lives trying to balance their world between good and evil.

I really wanted to be nasty and mean and bad. It's so much easier than being the good girl.

Evil is such a simplistic way to describe any character, be it Iago or Caliban, or any character from history.

Minds that are ill at ease are agitated by both hope and fear.

Clearly, I'm drawn to characters with inner conflicts.

I did spend a lot of time as a child very confused about whether I had a devil in me, or whether I was in a state of grace. I mean, these ideas are so potent to anybody with half an imagination.

Compassion alone stands apart from the continuous traffic between good and evil proceeding within us.

There was a three-year chunk as a teen where I should have been tranquilized and put in a cage.

The bad guys I play don't want to be bad. It's the struggle between the part of them that's an animal and the part that's the intellect that's interesting.

I've always been at war with myself, for right or wrong.

When you're playing a fictional character reacting to the real world, it's incredibly difficult and confusing and kind of messes with your values a bit.

All the characters in my films are fighting these problems, needing freedom, trying to find a way to cut themselves loose, but failing to rid themselves of conscience, a sense of sin, the whole bag of tricks.

Vivien Leigh was a phenomenal actress, a very complicated woman, living on the edge of mental problems, haunted by demons and angels. And though I've never thought of myself like Marilyn Monroe, I was inspired by the tremendous risk she took - of being vulnerable.

Magneto has a whole lot of complexity to him. Emotionally, he's coming from a very damaged place. I like the ambivalence of it. I want the audience leaving the theater wondering, asking the questions themselves rather than being spoon-fed like a lot of these super-villain characters.

The best characters to play are the ones who have deep internal conflict.